tv France 24 Mid- Day News LINKTV January 14, 2014 2:30pm-3:01pm PST
are you joking or serious? serious. then you are being serious just now. you play games too seriously, and that is dangerous. so what i want to really do is to try and just choose drives for both characters and play them, even if it's a matter of playing them extremely, you know, initially, just to see if they come. i begin to distrust more and more as i work, pulling things down. i used to think that acting was a process-- right. --you know, of getting hold a bit of the character, hammering and nail into, and say, "there, that's that." there's--and that i got to find the other bit and hammer that. right. and finally, i got that whole wonderful picture in the play-- right, yeah.
--'cause it's not like that at all. it's a case of taking things away bit by bit. right. but-- and we could spend the next day and a half working on the first page. easy. there are great leaps going on in our minds. and maybe by friday, something would have actually sorted itself out. yes. as long as we know the material well enough to be able to-- sure. sure. - oh, there's no question-- - yeah. --that come the day after tomorrow-- - yeah. --that the whole thing is still gonna be in a totally and fluid state. - right. - yes, yes. right. absolutely. unless--and necessarily so too. and that's--and because it's gonna be fluid and yet have-- that are gonna be performance conditions, it's gonna have some potential for excitement because-- yes. --the possibility of change, and quite radical change, continues to exist-- - right. --right through to today. sure.
thank you. won't you have something yourself? i'm not very partial to beer, but if you order me to. order? surely, a gentleman knows that a lady should never be allowed to drink alone. yes, that's perfectly true. now, drink my health. are you shy? to my mistress' health. bravo. now, kiss my shoe and the ceremony is complete. excellent. you ought to have been an actor. we really mustn't go on like this, miss julie. somebody might come in and see us. what then? people might talk, that's all. and if you knew how their tongues were wagging out there now. what kind of thing are they saying? tell me. sit down. i don't want to hurt you, but they were saying things which--
they were using expressions which hinted that-- oh, and you can guess. yes? you aren't a child. when people see a lady... you aren't a child. and when people see a lady and a man drinking together, let alone a servant at night, then... then what? anyway, we're not alone. christine is here. asleep. i shall wake her. christine, are you asleep? christine, will you wake up? - don't disturb her. - what? people who stand in front of a hot stove all day get tired when night comes, and sleep is something to be respected. a gallant thought, and one that does you credit. come outside then and pick some lilac for me. - with you? - with me. impossible. i couldn't. i don't understand. surely, you don't imagine. i don't, but other people might.
what? that i should have an amore with a servant? i'm not being conceited, but such things have happened. and to these people, nothing is sacred. quite a little aristocrat, aren't you? yes, i am. but if i choose to step down? don't step down, miss julie. take my advice. no one will ever believe you did it freely. people will always say you fell. i have a higher opinion of people than you do. come and see. come. you know, you are strange. yes, perhaps. everything is strange. life, people. everything is a scum which drifts, drifts on, on across the water until it sinks, sinks. i have a dream which recurs from time to time, and i'm reminded of it now. i've climbed to the top of a pillar and i'm sitting there, and i can see no way to descend. i look down.
if i look down, i become dizzy, but i-- if i look down, i become dizzy, but i must come down, but i haven't the courage to jump. i can't stay up there, and i long to fall, but i don't fall. and yet i know that if i could find no peace till i come down, no rest till i come down, down to the ground. and if i could get down, i would just want to burrow my way deep into the earth. have you ever felt anything like that? no. i dream that i'm lying under a high tree in a dark wood, and i wanna climb up, up to the top and look around the bright countryside where the sun is shining, plunder the birds' nests up there where the golden eggs lie. and i climb and i climb, but it's so far to the first branch. yes? and i climb and climb, but the trunk is so thick. and i climb and i climb, but the trunk is so thick and slippery. and it's so far to the first branch.
but i know if i could just reach that first branch, i would go up that tree, as if from a ladder. i haven't reached it yet, but i will reach it, even if it only is in a dream. why do we stand here talking about dreams? come now. just into the park. we must put nine midsummer flowers under our pillow tonight, miss julie, and then our dreams will come true. there's something in your eye? oh, it's nothing. it's only a speck of dust. it would be gone in a moment. my sleeve must have brushed it. come. sit down and i'll take it out. now sit still, quite still. come. obey me.
i do believe you're trembling, you great, strong lout. what muscles you have. miss julie? yes, monsieur jean. attention. je ne suis qu'un homme. sit still, will you? there. it's gone. now, kiss my hand and thank me. miss julie, listen to me. christine has gone to bed now. will you listen to me? kiss my hand first. - listen to me. - kiss my hand first. all right. dreadful lines. dreadful. yes, yes. dreadful. right. --it's-- nothing is-- no, they want the--. are you talking--.
well, everything from the movement to the door from the end of the dreams and-- oh, yes, right. --and everything that happens here in the chair is just meaningless. nothing is happening. right. no. no. yeah. and then the temperature-- actually, the intensity of the scene is deflating. - right, and rather than-- - well, yes. in one sense, there is a deflation with the move to the door. i mean, i think there is a kind of a-- well, i know i don't there is, 'cause it's decision to--. yes. there--yes. and it ought to go off. yes. there's--yes. there's a stasis. there's a moment of stasis, so to speak, as they reach. and then the chair and speck push it further. and can we leapfrog it? or do you want-- we want to work on that now? - i-- - well-- i'd like to-- yes, i'd like to-- it depends on what we're doing the run for. if we're running it just to-- yes.
--to mark it through, then we can go on. - but if-- - no, we're not running it to-- but if we're trying to really-- - yeah. - --to continue to explore it, then it's pointless. - right. - because there are-- right, because we haven't got that. the tensions and temperature in the scene have been completely deflated. [music] tres gentil, monsieur jean, tres gentil. vous voulez plaisanter, madame. et vous voulez parler francais? where did you learn that? in switzerland. i was the wine waiter at the biggest hotel in lucerne. you look quite a gentleman in those tails. charmant. ah, you're flattering me. flattering you? my natural modesty forbids me to suppose that you would pay a truthful compliment to one so humble as myself. therefore, i assume that you are exaggerating, for which i believe the polite word is flattery. where did you learn to talk like that? you must have spent a lot of your time in the theater.
yes. and i've been around a bit too. but you were born here, weren't you? yes. my father worked on the next farm to you. i used to see you when i was young. but you wouldn't remember me. no, really? yes. i remember one occasion, especially-- perhaps, i oughtn't to mention that. oh, no. please tell it, just this once. no. i really couldn't. not now. some other time, perhaps? some other time means never. is it so dangerous to tell it now? it's not dangerous. i'd rather not. i think christine must have fallen asleep in there. charming wife she'll make. does she snore too? she doesn't do that. but she talks in her sleep. how do you know? i've heard her. why don't you sit? i wouldn't permit myself to do that in your presence. but if i order you to. well, i shall obey. then, sit. no, wait.
can you give me something to drink first? i'm not sure what we have in the ice cabinet. only beer, i think. what do you mean, only beer? my tastes are very simple. i prefer it to wine. [music] thank you. won't you have something yourself? i'm not much of a beer drinker, but, of course, if madam insists. insists? surely you know that a gentleman should never allow a lady to drink alone. yes. that's perfectly true.
now, drink to my health. are you shy? to my mistress' health. bravo. now, kiss my shoe and the ceremony will be complete. excellent. you ought to have been an actor. we really mustn't go on like this, miss julie. someone might come in and see us. what then? well, people might talk, that's all. and if you knew, all their tongues are wagging up there just now. what kind of thing were they saying? tell me. sit down. i don't want to hurt you, but they were using expressions which hinted that-- well, you can imagine.
you are not a child, and when people see a lady drinking alone with a man, let alone a servant, at night, then... then what? anyway, we're not alone. christine is here. asleep. then i shall wake her. christine, are you asleep? christine, will you wake up? don't disturb her. what? people who work in front of a stove all day long get tired when night comes. sleep is something to be respected. a gallant thought, and one that does you honor. oh, come outside then and pick some lilac for me. - with you? - with me. impossible. i couldn't. i don't understand. surely you don't imagine. i don't, but other people might. what, that i should have an amore with a servant? well, i'm not being conceited, but such things have happened, and to these people, nothing is sacred. quite the little aristocrat, aren't you? yes, i am.
but if i choose to step down? don't step down, miss julie. people would never believe you did it freely. they will always say you fell. i have a higher opinion of other people than you have. come and see. come. you are strange. perhaps. but so are you. everything is strange-- life, people-- everything is a scum which drifts on and on across the water until it sinks. sinks. i have a dream which recurs from time to time, and i'm reminded of it now. i've climbed to the top of a pole and i'm standing there and i can see no way to descend. if i look down, i become dizzy. but i must come down, but i haven't the courage to jump.
i can't stay up there. and i long to fall, but i don't fall. and yet i know i shall find no peace till i come down. no rest till i come down, down to the ground. and if i should come down, i should want to burrow my way deep into the earth. have you ever felt anything like that? no. i dream that i'm lying under a high tree in a dark wood. and i wanna climb up, up to the top, look around the bright countryside where the sun is shining, plunder the bird's nests up there, there where the golden eggs lie. and i climb, and i climb but the trunk is so thick and slippery. and it is so far to that first branch. but i know if i could just reach that first branch, i would go up to the top as if on a ladder.
i haven't reached it yet, but will reach it, even if it is only a dream. why do we stand here talking about dreams? come on. just into the park. we must put nine midsummer flowers under our pillow tonight, miss julie, and then our dreams will come true. is there something in your eye? it's nothing. it's just a speck of dust. it'll be gone in a moment. my sleeve must have brushed it. sit down. i'll take it out for you. sit still now, quite still. come. obey me. i do believe you're trembling, you great, strong lout. what muscles you have.
miss julie. yes, monsieur jean? attention. je ne suis qu'un homme. sit still, will you? there. now, it's gone. kiss my hand and thank me. miss julie, listen to me. christine has gone to bed now. listen to me. kiss my hand first. will you listen to me? kiss my hand first. all right. but you have only yourself to blame. for what? for what? you're a child? no, you're 25. don't you know it's dangerous to play with fire? not for me. i'm insured. no, you're not. and if you are, there is inflammable material around that isn't. meaning you? yeah. not because i'm me, but because i'm a young man... of handsome appearance. what incredible conceit. a don juan perhaps or maybe you are a joseph. yes, i do believe you are a joseph. do you?
i almost fear it. stop it. are you joking or serious? serious. and you were being serious just now. you play games too seriously, and that is dangerous. well, now, with your permission, i am tired of this game and i shall get on with my own work. i still got his lordship's boots to finish, and it's well past midnight. forget the boots. no. it's part of my work, which doesn't include being your plaything. and it never will. i flatter myself that i am above that. aren't we proud? in some respects. in others, not. have you ever been in love?
we don't use that word. but i've been fond of lots of girls. i was once sick because i couldn't get the girl i wanted. yes, sick, do you hear? like those princes in the arabian nights that couldn't eat or sleep because of love. who was she? who was she? you cannot order me to answer that. but if i ask you as an equal, as a friend, who was she? you. how absurd. yes. if you like, it was absurd. look, this was the story i didn't want to tell you just now. but now i will tell you. do you know how the world looks from down there? no, you don't. like hawks and eagles, whose backs one seldom see because most of the time, they hover above you. i was born in a hut. i lived there with seven brothers and sisters and a pig, out there in the grey fields where never a tree grew.
but from the window, i could see the wall of his lordship's park with apple trees growing above it. it was a garden of paradise. and there stood many evil angels with flaming swords to guard it. but despite them, i and other boys found a way into the tree of life. ah, you despise me now? oh, i suppose all small boys steal apples. oh, yeah, you can say that, but you despise me. however, one day, i went in there with my mother to weed the onion beds. on one side of the garden, there was a turkish pavilion under the shadow jasmine trees, covered in honey suckle. i've never seen such a building. what could it be for? people went in and came out again. and then one day, the door was left open and i crept in. i saw the walls hung with pictures of kings and emperors.
and there were red curtains at the windows with tassels. ah, now you understand, it was the lavatory. i've never been in the palace before. i've only seen the inside of a church, but this was more beautiful. and no matter how my thoughts might stray, they always return there. and gradually, i began to long, just once, to have the full experience of actually. enfin-- i crept in. i stood and wondered. and then somebody is coming. there was only one exit, for the lords and ladies, but for me, there was another. i had no choice but to take it. and then i ran. i crashed through a raspberry edge straight across a strawberry patch, and then i found myself on a terrace with a rose garden,
and i saw a pink dress and white stockings, you. i hid underneath a pile of weeds, underneath. can you imagine that, under weeds? they pricked me, and wet earth that stank like me. and i looked at you as you walked among the roses. and i thought, "if it's true that a thief can enter heaven "and dwell with the angels, then it is strange "that a peasant's child here on earth cannot enter the great park and play with the count's daughter." do you suppose all poor children have the same ideas as you? do all poor-- yes, of course, of course. it must be a terrible misfortune to be poor. oh, miss julie. oh! a dog can lie on the count's sofa, a horse can have its nose patted by a young lady's hand, but a servant!
oh, every now and then, one man manages to haul himself up. but how often does that happen? but do you know what i did? i ran straight into the mill-stream with all my clothes on. they pulled me out and beat me. but next sunday, my father and all the others were going to my grandmother's and i fixed it so that i can stay behind. and then i scrubbed myself with soap and hot water, and i put on my best clothes. and i went to the church in order to see you. i saw you. and i returned home determined to die. but i wanted to die beautifully, pleasantly, without any pain. and then i remembered that it was dangerous to sleep under an elder tree. and we had a big one in full bloom. so i stripped it of everything it had, and i lay down in the oat bin.
have you ever noticed how beautiful oats are, soft to the touch like human skin? i shut the lid and i closed my eyes. and i fell asleep. and then i woke up feeling really very ill, but i didn't die. what did i want? i don't know. i had no hope of winning you. but you are a symbol to me of the hopelessness of my ever climbing out of the class into which i'd been born. do you know you're quite a raconteur? did you ever go to school?
a bit, but i've read a lot of novels, been to theaters. and i've heard the gentry talk. that's what i learned most. do you listen to what we say? certainly. and i've heard plenty too. sitting on the coachman's box or rowing the boat, i once heard you and a lady friend. oh, indeed. what did you hear? i wouldn't care to repeat it, but it surprised me a little. i couldn't imagine where you would learn such words. perhaps, at the bottom, there isn't as much difference as people supposed between people and people. oh, nonsense. we don't behave the same way you do when we're engaged. oh, is that so? come now, miss julie, you don't have to play the innocent with me. the man to whom i offered my love was a wastrel. oh, that's what they always say afterwards. always? i have heard the expression before on similar occasions. what occasions? like the one in question. the last time a lady and i actually--
be quiet. i don't want to hear anymore. yes, that's what she said. strange. well, now, how about your permission to go to bed? go to bed on midsummer eve? yes. dancing with that pack up there doesn't greatly amuse me. get the key of the boat and row me out onto the lake. i want to see the sunrise. is that wise? you speak as though you were frightened of your reputation. why not? i don't wanna make myself a laughingstock or get sacked without a reference just when i'm beginning to make my way. besides, i think i have christine to consider. oh, i see. it's christine now, is it? yes, but it's you too. take my advice, go to bed. am i to obey you? for once, for your own sake. it's late.
drowsiness makes one drunk one's head goes dizzy. go to bed. besides, if my ears don't deceive me, i think that's the other servants coming here to look for me. if they found us here together, you are lost. i know these people and i love them, as i know they love me. let them come here and i'll prove it to you. no, miss julie, they don't love you. they take your food, but when you turn your back, they spit at you. listen. listen to what they're singing. [music] no, don't listen. what are they singing? it's a filthy song about you and me. oh, how dare they! the traitors. that's what they're like. we can't fight them. one can only run away. run away? but where to? we can't go out and we can't go into christine's room. no. into my room then? oh, we can't bother about convention now.
you can trust me. i am your true, loyal and respectful friend. but suppose-- suppose they come and look for you in there? i'll bolt the door. and if they try to break in, i shall shoot. come. please, come! you promise. i swear. captioning performed by aegis rapidtext this was a co-production of miami-dade community college and british broadcasting corporation, british open university. on the morning that we recorded this scene,
i was still convinced that we will be unable to get through it. i think that was because i had underestimated the actors' intuitive response to a performance situation. and so we did the scene. curious enough, we did the scene for the very first time without forgetting the lines. that's right. it was very heady. 'cause i remember when we drove down the road after this, and we go, "my goodness, we actually did it. we did it." but then, when i'm seeing it, i--the sense of excitement that we had while we were doing it, i didn't see that when i saw-- what i saw watching it with all the gaps and sort of areas of questioning that i still want to ask about the scene. it wasn't complete yet.